#and not wallcot

[tulsa24]

i’m going to be working in epcot!!

i get to work in food at disney!!

[ratg0r3]

My confession is…I own all the postal games but only fr finished p2 (a LOT of times) and p4. P3s controls made me not wanna play and I don’t like that p1 & redux aren’t first person 🚶

ive only finished p1 and p2, and braindamaged, i only got through to the wallcot mission in p3 and p4 im on friday but stuck on the dam mission lmao i dont blame ur pov preference either lol i also never finished redux cause i feel they are more bullet sponges than anything in the higher difficulty i play on

[fyeahrebeccafront]

Rebecca Front in The Other One 2x04

[cocained]

"and  it's  my  job  to  protect  you."  words  followed  after  a  soft  sigh  as  this  isn't  the  first  time  this  it's  the  topic  of  conversation  between  the  two  of  them.  "it's  late,  people  are  getting  messy  —  let's  get  you  home."

"you're my bodyguard, not my father." / @cocained ♥

[mousecrossingtours]

I’m almost done with the Magic Kingdom side of my island! Then I’ll get started on Epcot. In the meantime, this is what you’ll see on the Wallcot Epcot side once I finally update my dream 😂

[don-lichterman]

Why EPCOT is the BEST Disney World Park

Why EPCOT is the BEST Disney World Park

We went to social media and asked YOU (that’s right, YOU) *why* EPCOT is the BEST Disney World park right now – and you guys came in CLUTCH. Turns out, EPCOT is a lot more than WALLCOT and construction updates – so let’s explore Disney World’s #1 park (according to many of our readers and listeners), here on DFB Guide. Club Cool’s soda RANKED:…

[corekites]

Rob Kidnie smacking it in the sweet spot 💥 #GoKiting 📸 Jason Wallcot https://ift.tt/2PwLzGW

[mo-salahs]

James Milner or Theo Wallcot

this shouldn’t even be a question, obviously mily. you cannot not love him 

____ or ____ ? ╱ football edition.

[predisiskorbola-blog]

Arsenal Harus Bisa Bersaing sejak awal laga Pembuka Liga Inggris

LONDON - Arsenal sendiri mempunyai rekor yang buruk selama ini di awal musim dan selalu berulang seperti itu di setiap laga pembuka liga Inggris. Dan Theo Walcott ingin membawa The Gunners menua hasil bagus sejak awal musim 2017/2018.

Dalam dua pertandingan pembuka yang terbaru, Arsenal selalu menelan kekalahan West Ham United yang menaklukan Gudang peluru dalam musim 2016/2017.

Arsenal sendiri dalam laga pembuka liga Ingris kali ini akan berhadapan dengan Leicester City di pertandingan pertama mereka, laga itu pun juga akan berlangsung di kandang mereka sendiri di Emirates Stadium Pada tanggal 11 Agustus mendatang.

" saya rasa, kami selalu menerima kekalahan di setiap laga pembuka liga Inggris di tahun tahun kemarin ini, jadi dalam laga pembuka LIga Inggris di tahun ini kami berharap dapat memenagkan pertandingan awal kami, yang dimana kami akan bermain di hadapan pendukung kami sendiri" Ujar Walcott.

" Pada pertandingan pertama ini kami akan menghadapi tim kuat dan eks juara Liga Inggris dua musim yang lalu, dan manajer juga sudah mengatakan sejak hari pertama dan memastikan kami untuk dapat memenangkan pertandingan pertama kami di laga pembuka pertandinga liga Inggris "

[curtaincallwithcarlgregory]

REVIEW: The Crucible

Presented By: Lindsay Street Players, in association with Young People’s Theatre Season: February 4 – February 18 Venue: Young People’s Theatre (26 Lindsay St, Hamilton) Booking: http://bit.ly/1Q6DI69 Director: Nicholas Thoroughgood Writer: Arthur Miller

Cast:

Parisse Lattimore as Betty Parris

Malcolm Young as Reverend Parris

Arianna Karmaniolos as Tituba

Jordan Warner as Abigail Williams

Grace McLaughlin as Susanna Wallcot

Amy McDonald as Mrs Putnam

Jack Twelvetree as Thomas Putnam

Nicola Eenick as Mercy Lewis

Alexandra Jensen as Mary Warren

Mitchell Cox as John Proctor

Michelle Burnitt as Rebecca Nurse

Luke Power as Giles Corey

Harold Phipps as Reverend Hale

Anna Lambert as Elizabeth Proctor

Timothy Blundell as Francis Nurse

Lachlan Schotter as Ezekiel Cheever

Liam Waterman as Marshal Herrick

Michael Blaxland as Danforth

Synopsis: In 1692, the small town of Salem, Massachusetts is rocked by suspicions of witchcraft, after a supposedly innocent night of revelry leaves two of Salem’s youth comatose. Seeking to quell the rising panic, Rev. Parris invites witchcraft expert Rev. Hale to investigate the mysterious incident – but as hysteria sets in, the uneasy peace between Salem’s citizens starts to fracture. As the growing witch-hunt threatens to expose the secrets and sins of the townsfolk, their fight for innocence quickly turns into one of survival – and nobody seems safe.

First-time director Nicholas Thoroughgood clearly acknowledges his production’s fascination with “highlighting contrast” in the show’s program, and with good reason: Thoroughgood basically allows it to permeate just about every element of The Crucible. The costume and lighting design are a practice in black and white; the set design uses dual levels as a clear delineation between high and low status; saccharine songs of the 1950’s undercut the horrific events on stage, and performers balance explosive passions with stoic or stony silences. Thoroughgood leans into these extremes, and the ultimate result is an extremely divisive show – rarely have I seen such spirited debate amongst audience members as I did after The Crucible.

While some of these extremes serve to support and benefit The Crucible’s overall effect, others proved to be more contentious, such as Thoroughgood’s decision to mix the use of physical props with mime in select instances (one scene has a character rip up a piece of paper in frustration, only to mine the same action later in a separate, critical moment). Similarly, the production’s predominant use of natural, dramatic staging is later countered with a more emblematic style, as a scene between the witch-trial judging panel is delivered in static, outward presentation. These variances undoubtedly have artistic motivation behind them, but may distract or confuse.

Jordan Warner and Alexandra Jensen absolutely mesmerise as Abigail Williams and Mary Warren respectively, teasing out powerfully nuanced performances as the two girls caught at the centre of Salem’s witch-hunt. Warner reveals a keen sense of emotional control as the shrewd Abigail, and deserves praise for skilfully executing a multi-layered character – there are many facets to Warner’s Abigail, and each is executed with clear confidence and deft precision. Though behaviourally opposite, Jensen is equally dextrous as the incredibly anxious Mary Warren, and establishes a convincing portrayal of hysteria without ever coming across as false. Ironically enough, it is her conviction as a performer that so brilliantly brings her terror to light.

Mitchell Cox bears much of The Crucible’s brunt as the stoic farmer John Proctor, and establishes an admirably precise physical performance. Everything about his Proctor is deliberate and considered, and Cox’s deconstruction of the character’s stoicism and detachment in the later acts is well worth watching – his ‘death by a thousand cuts’ acquits his skill as a performer well. Anna Lambert passionately throws herself into the character of Elizabeth Proctor, and though her performance contains echoes of the overt theatricality that might suit her prior work better, her commitment to the emotional journey of Elizabeth ultimately steers her performance right.

Where The Crucible’s considerable ensemble struggles most is in their delivery of Miller’s material, particularly in the first and second acts. The sheer verbosity of Miller’s script, coupled with the passion and pace of his characters, result in a clear compromise in delivery, with many of the finer details of the dialogue getting lost in the execution. This can present a significant obstacle for any show, but a production as complex and layered as The Crucible lives and dies by its audience’s comprehension; I would advise getting as close to the stage as possible.

There’s a lot more to Lindsay Street Players’ The Crucible than I can discuss in this short review: the literal deconstruction of the set, the wider spectrum of the ensemble performances, and the wondrousness of Arthur Miller’s script, among them. What I can say is that The Crucible – despite some minor production inconsistencies and obstacles – capably held my attention for almost three hours, and made me want to go see it again. It’s undoubtedly divisive, but still manages to foster a passionate and heavy atmosphere that goes a long way in mitigating those flaws. If that’s not witchcraft, I don’t know what is.

[fyeahrebeccafront]

Rebecca Front in The Other One 2x03

[ceciledefoe]

El amor después del amor

Llegará el día en que, exultante, te vas a saludar a ti mismo al llegar a tu propia puerta, en tu propio espejo, y cada uno sonreirá a la bienvenida del otro, y dirá, siéntate aquí. Come. Otra vez amarás al extraño que fuiste para ti. Dale vino. Dale pan. Devuélvele el corazón a tu corazón, a ese extraño que te ha amado toda tu vida, a quien ignoraste por otro, y que te conoce de memoria. Baja las cartas de amor de los estantes, las fotos, las notas desesperadas, arranca tu propia imagen del espejo. Siéntate. Haz con tu vida un festín.

Derek Wallcot 

[vancouriers-blog]

#Courier from Wallcote Ave, #London NW2

#Courier from Wallcote Ave, #London NW2

#Courier from Wallcote Ave, #London NW2 1AX to Forest Hill, #London SE23 2BL http://ow.ly/phD050eaxdh

[atiye-ettie]

You will love again, the stranger who was yourself

Derek Wallcot. Love after love, (1930-2017). R.i.p

[fyeahrebeccafront]

[fyeahrebeccafront]